CMP Lenses PDF

Macro and Close-up Lenses
Close-Up and Macro

Photography
A Primer
Book Two:
Macro & Close-up Lenses
Text and Photos by Michael Erlewine
1
Heart Center Publications

315 Marion Avenue
Big Rapids, Michigan 49307
Dedication
This book is dedicated to my father
Ralph L. Erlewine
Michael@Erlewine.net
who placed a Kodak Retina-2a 35mm
camera, tripod, and light meter in my
First Published 2011
hand in 1956, showed me how to use
them, and turned me loose. Thanks
Michael Erlewine 2011 dad!
May these books be of benefit to all
photographers and nature lovers, and
ISBN 925182-73-7 may everyone experience awe, beauty,
and instruction from the natural world
that I have.
All rights reserved. No part of this publication
may be reproduced, stored in a retrieval
system, or transmitted, in any form or
by any means, electronic, mechanical,
photocopying, recording, or otherwise,
without the prior written permission of the
publisher. This photo book may be shared
provided no fee is charged.
All photos taken by Michael Erlewine,

2007-2011 Michael Erlewine
2
Considerations for Selection a Close-up/Macro Lens tried a good number of them. Here is what I value most in
a lens for near focus:
What follows necessarily is somewhat of an exercise in
futility as the variables in assessing fine lenses for close Sharpness
work are many and their permutations seemingly infinite. Of course I want it sharp but the more I work the less
Still we cant own them all and in the end must make some I am concerned about absolute sharpness. There are
attempt to compare lenses, one to another, in order to a lot of very fine sharp lenses available in the Nikon
decide what lens might be most useful to us for a particular mount or that can be converted to that mount. Most of
kind of work. There are several types of information the lens mentioned in this article are sharp or sharp
presented here, the various specifications for each lens, a enough for good macro work. Sharpness is not the only
photo of the lens, and photographs taken with that lens. consideration. A lens can be very sharp but difficult to
The specifications and lens photo I am sure you will find use for other reasons, like it is too sensitive to light or
useful because they are seldom gathered in one place the widest aperture does make give enough light in the
and this should save you searching for this information. I viewfinder, etc.
am more dubious as to the actual photos taken with the Fast Lens
lenses and I include them here because I have them and
not because I myself found them all that illuminating. By I value a fast lens (one with very small f-stop numbers
reviewing these images I see that almost all of the lenses like f/1.4, f/2.8, etc.) not because I shoot wide open but
included here are sharp and are worthy of taking very fine because I need to have maximum light in my viewfinder
photos if we know their limitations. I am certain that if you for focusing well. Since I often am photographing around
pick through the data and photos you will come up with dawn or when the light is still fairly dim (but nice) I need to
opinions of your own that will elevate one lens relative to see what I am doing. The bright light of full sun is not what
another, and so on. I am looking for.
Taking comparison lens photos is a thankless job because, Also I do a lot of focus stacking and I need to see what
although the subject matter and lighting remained the same, to focus on at each step. I dont entirely agree with those
the distance of each lens from the subject differed and this who say that to focus stack you need to just get to the
affects the light and so on and so on. I did make an attempt front of the subject and then automatically click on through
to take several shots and pick what to me seemed to be the and not focus on anything in particular but just make sure
shot most in focus, but again: it was very difficult to grade to have regular intervals.
them. And since these shots are not of a test pattern, which Of course I understand what they are pointing at but in
is the usual way to compare lenses, but rather of a subject my experience this is not enough. For example round,
with color and texture, all you can expect is to get some spherical objects in the frame do not stack well. Your
basic idea of what each lens is capable of. To repeat, after increments have to be much finer (shorter) than otherwise
doing all of this, I found that most of the lenses listed here if your subject is round. In fact in many subjects there are
are plenty sharp enough to own and use. For me that is my key points that you dont want to just auto-increment past
own take away from the photos. but very carefully be sure to get them in extreme focus. In
I also include a quick shot of the lens itself and any other words: if I am blindly incrementing along with a stack
comments I have about the lens. By all means take my and reach a key point I do finer increments before, at,
comments with a grain of salt. They are impression from and after that point to make sure that that area is in prime
my use of the lens and since in day-to-day use I have my focus.
favorites, many of these lenses got only cursory use. Still, There often are several such points is the series and I
some of my observations may be helpful. At least that is my need to be able to see to focus in the viewfinder to do that
hope. I will say just a few words about what in my opinion and I want a fast lens for visibility. For example, someone
makes a good lens for close-up, macro work, and also for commented recently about the Nikon 70-180 Zoom Macro.
focus stacking. I spent a couple of years intensely using that lens but
How to Pick a Lens gradually abandoned it because its widest aperture is
f/4.5. This morning I got that lens out in case I had made a
There are a number of key factors that figure into what misjudgment or might see it differently today. It was about
makes a good close-up or macro lens. Not all lenses have 8:30 AM here and the sun had not really gotten strong.
all the desired factors and some of it depends on the
particular kind of photography you want to do. No lens (or Looking through the 70-180mm it was very dim indeed
very few anyway) seem to have everything. Some lenses and not at all bright enough for my work. On a bright day
will have better sharpness, some better color, and so on. As the lens would be fine but I dont shoot in bright sunlight
you read about the factors and qualities of various lenses, and even tend to avoid bare sunlight, concentrating more
you will want to keep your eye on the qualities that are most in shadows or light haze. The 70-180mm is a wonderful
important to your work. lens, but not for me for the reasons mentioned.
My first attempts at macro photography were sometime Focus Throw
around 1956 when armed with a Kodak Retina 2a and a Something not often mentioned is the focus throw of a
close-up lens I began to take some macro shots. They were lens, how many degrees does the barrel have to rotate
not too successful but I was only fifteen years old. In recent to go from close-up to infinity. I was surprised at some of
years I have spent a lot of time doing close-up and macro the fine macro lenses that have a short focus throw. For
nature photography. In my search for the right lenses I have macro work and especially for focus stacking I need a
longish focus throw or else put the camera on a focusing
3
rail. I prefer the long focus throw on a lens to carrying a rail be what you are looking for.
around. One odd technique I like is to use a telephoto like the
I was shocked to find that the very expensive Coastal Nikon 300m F/4 ED-IF lens which has a minimum focus
Optics 60mm APO macro lens has a focus throw on only distance of something like 4.9 feet on the Nikon D3x and
210 degrees. For example the CV-125 APO has a focus crop out a photo. I can photograph a frog out in the middle
throw of 630 degrees and the Leica 100mm Elmarit has one of the pond, crop it out, and still have enough pixels for a
of 710 degrees. However, the old Micro-Nikkor 60mm f/2.8 fine photo.
D macro has a throw of only 120 degrees and that is not Summary
desirable.
Those are some of my main considerations when
The wider the angle macro lens (50mm, 60mm, etc.) the choosing a macro lens. I dont care how heavy or bulky a
more important it is to have a long focus throw. Macro work lens is. Carting these things around is second nature to
is just the opposite of sports photography where you want a me now. It is easy to see that if we insist on having all of
short focus throw. In macro and most of all in focus stacking the above points in a single lens we quickly are down to
a long focus throw is a big advantage. You need it or use a almost none. In fact the one lens I have that is sharp, fast,
focusing rail. has a long focus throw, goes to 1:1, and has APO is the
Reproduction Ratio Voigtlander 125mm f/2.5 APO-Lanthar. No other lens has
all of these features without adding diopters or settling for
Another feature to keep in mind is the reproduction
a short focus throw, etc. It is no wonder that this lens is
ratio. How large is the image in the frame? Most macro
in great demand. The Nikon 105mm VR macro is pretty
aficionados prefer a lens that goes to 1:1. 1:1 means that
good as well in terms of having many of the features.
the image in the sensor and the subject image are the same
size. Not too many good macro lenses get to 1:1. In fact
there are whole businesses that help you get from smaller Michael Erleiwne
ratios (like 1:2) to 1:1 image size.
October 24, 2011
There are not all that many lenses that will give you the 1:1
ratio and my view of putting close-up diopters on the front of
my lenses or extension tubes on the rear of my lenses (or
both) is not flattering. I have all the key diopters, tubes, etc.,
but I use them only as a very last resort. Actually I hardly
ever use them at all. I know that many photographers love Note: Photos shot on the same day, same light, at f/5.6,
them but I feel a lens just as it is sold is a perfectly balanced but are varying distances from the subject. This is not any
thing and anything added to it can only lead to a degraded kind of rigorous test, but simply to show that most of these
image. This is a fact. lenses are sharp enough for what most of us might want
Luckily for a lot of my work I dont always need to have a 1:1 to do with them.
reproduction ratio. I shoot a lot of close-up work, what I call
mini landscapes or dioramas and can use lenses that are
not ultra-close.
APO (Apochromatic)
Not absolutely required but very helpful are lenses that
are APO enabled. Apochromatic lenses are corrected for
chromatic and spherical aberration more than the common
achromat lenses. There are not many good ones, the most
well-known in the Nikon format being the Cosina/Voigtlander
125mm APO-Lanthar, , the Leica 100mm APO Elmarit, and
the Coastal Optics 60mm APO. I prefer APO lenses in my
work most of the time. IMO the differences in coloring can
be dramatic.
Minimum Focus Distance
Most lenses used for macro work have a very short
minimum focus distance, in fact many can appear too short
if working with live critters like 50-60mm lenses.
If you are shooting insects or live-whatever, some lenses
require you to be so close to the subject that the end of
the lens actually blocks the light or the close proximity of
the lens scares off whatever you are photographing. The
60mm range of macro lenses are in this category. And
while the 100mm to 105mm macro lenses are very popular,
many photographers would rather work with lenses in the
200mm range because it gives them just enough extra
distance to not disturb their subjects. If you are really into
photographing critters then a lens in the 200mm range may
4
5
Macro, Close-up, and Other Lenses Page
Introduction 003
Voigtlander 125 F/2.5 Macro APO-Lanthar 007
Zeiss 50mm f/2 ZF.2 Makro-Planar 012
Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift 016
Nikon Nikkor 24mm WA PC-E F/3/5 ED U.S. 019
Zeiss 100mm F/2 ZF.2 Makro-Planar 022
Micro-Nikkor 60mm f/2.8 G Lens 026
Nikon Nikkor 35mm f/1.4 G 030
Coastal Optics 60mm f/4.0 APO 034
Voigtlander 58mm f/1.4 Nokton 039
Nikon Nikkor 24mm-70mm AF-S f/2.8 G ED 042
Nikon Nikkor 16mm f/2.8 Fisheye 045
Leica 100mm Apo Macro Elmarit R Lens F2.8 048
Leica Elpro 1:2-1:1 Close-Up Lens R 052
Micro-Nikkor 105mm f/2.8 AIS Manual Focus 055
Micro-Nikkor 105mm F/2.8 VR Lens 055
Nikon Nikkor 85mm F/1.4 G 059
Micro-Nikkor 70mm-180mm AF f/4.5-5.6 D 062
Micro-Nikkor 200m AF F/4 ED-IF Macro 066
Nikon Nikkor 35-70mm AF Zoom F/2.8 D Lens 070
Nikon Nikkor 135mm AF DC f/2 073
Nikon Nikkor 85mm f/1.4 D 076
Nikon Nikkor 300mm AF-S f/4 ED IF 079
Nikon Nikkor 70mm-200mm AF VRII F/2.8 GII AFS ED-IF 082
Voigtlander 180mm APO f/4 085
Micro-Nikkor 85mm f/2.8 PC Tilt/Shift Lens 088
Voigtlander 90mm f/3.5 SL 092
Nikon Nikkor 105mm F/2.5 097
Kiron (Lester A. Dine) 100mm f/2.8 Macro 100
Micro-Nikkor 55mm P Auto 55mm f/3.5 104
Micro-Nikkor 105mm P F/4 Macro Bellows Lens 108
Nikon Nikkor 28mm f/2.8 AI-S 110
Micro-Nikkor 60mm f/2.8 D Lens 113
Nikon Nikkor 50mm f/1.8 AIS 117
Nikon Nikkor 24mm f/2.8 120
Voigtlander 40mm Ultron f/2.0 SL II 123
Nikon Nikkor 35mm f/2.8 AF K-Series 126
Nikon Nikkor 28mm-105mm 1:35/4.5mm D Zoom 130
Micro-Nikkor 105mm P F/4 Macro Lens 133
Nikon Nikkor 50mm AF-S f/1.4 D 139
Nikon Nikkor 50mm AF-S f/1.4 G Lens 142
Cosina 70mm-210mm f/4.5-f/5/6 Macro Zoom 145
Unsolicited Advice 147
My Key to Good Photos 151
About the Author 153
6
I could write a book about this lens, but I will spare you.
The CV-125 is, hands down, the best macro lens I own and
I use it all the time, even though I have a shelf full of some
of the best macro lenses in the world at the ready. It has no
major negatives. It is very fast, very sharp, focuses close,
reproduced to 1:1, has 9 blades (great bokeh) the works.
If I want to complain, it is on the heavy side, but I am always
happy to carry this piece of glass in the field.
The lens is very difficult to find in the Nikon format and also
very expensive, with copies now going for $2500 or so.
Despite all the good qualities, probably the features that
set this lens apart from other fine macro lenses are the fact
that it is truly apochromatic (APO) and has such exceptional
bokeh (lovely out-of-focus blur in the background).
Of course, IMO, I would add that it has a magic quality
that words cant express and a very-long focus throw that
makes macros and stacked-photos so very easy. I find it
very stable when it comes to handling various types of light
in the same frame, like shade with rays of sunlight. This is
real workhorse and I have used mine day in and day out for
years.
It focuses to 1:1 and lets you get very close in on your
subjects. A feature not often mentioned about this lens is
that it is also very sharp at mid-range and even at landscape
distances. This is the little lens that could and it does. If you
ever find one, buy it. You will never be sorry.
Lens: Voigtlander 125mm f/2.5 Macro APO-Lanthar

Focal Length: 125mm
Widest Aperture: f/2.5
Narrowest Aperture: 22
Aperture Blades: 9
Filter Size: 58mm
Hood: Included, Square
Close Focus Distance: 14.96 inches (38 centimeters)
Reproduction Ratio: 1:1
Focus Throw: 630
Weight: 28 ounces (794 grams)
Pros: Very fast lens, very sharp lens, 9 blades, close focus,
goes 1:1, long focus throw.
Cons: None. Perhaps a little heavy.
Voigtlander 125mm f/2.5 Macro APO-Lanthar 7

Voigtlander 125mm f/2.5 Macro APO-Lanthar (crop from full size) 8

Voigtlander 125mm f/2.5 Macro APO-Lanthar (maximum close-up) 9



This is a wonderful little lens, more interesting to me that its
big brother the 100mm Makro-Planar. It is very, very sharp
and with such a close focus you can treat it like a wide-angle
lens and poke it right into the middle of things. It stacks very
well and has a luxurious 300 degrees focus throw. It does
not reach 1:1, but I dont care because I dont use if for the
nitty-gritty ultra-close shots. I treat it, as mentioned above,
more as a wide angle lens and reserve it for that.
It has a superb build and if there is any fault at all with this
lens (IMO) it is that it may be perhaps too contrasty and not
quite subtle enough in color. It is not an APO lens and that is
the only thing I have noticed that I do not love.
Lens: Zeiss 50mm f/2 ZF.2 Makro-Planar

Focal Length: 50mm
Widest Aperture: f/2
Aperture Blades: 9
Filter Size: 67mm
Hood: Included
Focus Throw: 300
Weight: 18.72 ounces (531 grams)
Pros: Very sharp lens, fast lens, 9 blades, good focus

distance, good focus throw.
Cons: No 1:1, heavy-ish.

Zeiss 50mm f/2 ZF.2 Makro-Planar (crop from full size) 13

Zeiss 50mm f/2 ZF.2 Makro-Planar (close-focus) 14

Zeiss 50mm f/2 ZF.2 Makro-Planar (crop from full size) 15

I have all three of the most recent Nikon PC (tilt/shift)
lenses, this one plus the 85mm and 24mm PC. While all
three are exemplary lenses, I find the 45mm PC the most
useful for macro and close-up work. The PC stands for
perspective control through the tilt and shift features.
The tilt feature allows the lens to tilt (either up and down,
or right and left) a total of 8.5 degrees. There are many
tutorials on the web for learning to use this feature, but the
idea is that in any photo there is one and only one plane
of focus. Tilt allows the lens to align the plane the lens
with that of the image plain. An example might be a field
of flowers stretching toward the horizon. Instead of just
having the front flowers in focus, by tilting the lens it can be
possible have the whole field in focus.
The sift feature allows the lens to be sifted right or left (or
up and down) bringing what normally would be out-of-frame
in frame without having to move the camera. Notice that
these lenses have large box-like midsections. This allows
a lens to have a larger image circle than a normal lens, so
that shifting the lens to either side allows more or less of the
subject to come into view. At total shift of 11.5 mm to either
side is permitted.
In addition the whole lens barrel can be rotated plus or
minus 90-degrees by 30-degree increments allowing you
to combine the tilt/shift features in various combinations.
Sound amazing? It is, but dont run out an buy one unless
you really need these features. These lenses are bulky and
heavy. Both the tilt and shift features (and especially the tilt
feature) have a steep learning curve and are not easy to
learn. The focus throw is very smooth but also very short,
making it not ideal for close-up focus stacking.
That being said, the Nikon 45mm PC-E lens is a lens I
frequently carry with me for wider views than my CV-125
requires. Using this lens I can stick it very close to a flower
and capture it and the surrounding space easily. The shift
Lens: Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift feature allows me to take three photos (left-sift, middle,
Focal Length: 45mm right-shift) and combine them with a stitching program to
Widest Aperture: f/2.8 produce a seamless mini-panorama. Since all three photos
Narrowest Aperture: 32 already share a common image circle within the camera,
Aperture Blades: 9 this guarantees a seamless panorama. However, I find that I
Filter Size: 77mm can only shift (left or right) one-half of the permitted distance
Hood: HB-43 without causing some vignetting. Still, I can produce a three-
Close Focus Distance: 10 inches (25 centimeters) shot panorama with no special panorama head in a jiffy and
Reproduction Ratio: 1:2 they are excellent. I dont feel they are as perfect for stacked
Focus Throw: 120 three-shot panoramas than using the CV-125 and a pano
Weight: 26 ounces (737 grams) head, however.
Pros: Fast lens, 9 blades, very sharp, good close focus.
Cons: Short focus throw, does not go to 1:1, tilt/shift features

require a learning curve.
Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift 16

Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift (crop from full frame) 17

Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift (maximum close-up) 18

lenses, this one plus the 85mm and 45mm PC. The PC
stands for perspective control through the tilt and shift
features.
side is permitted.
That being said, the Nikon 24mm PC-E lens is a lens I dont
frequently carry with me for wider views than my CV-125
Lens: Nikon Nikkor 24mm PC-E f/3.5 requires. I tend to favor the 45mm PC-E lens. Using the
Focal Length: 24mm 24mm PC-E lens I can stick it very close to a flower and
Widest Aperture: f/3.5 capture the flower and the surrounding space easily. The
Narrowest Aperture: 32 shift feature allows me to take three photos (left-sift, middle,
Aperture Blades: 9 right-shift) and combine them with a stitching program to
Filter Size: 77mm produce a seamless mini-panorama. Since all three photos
Hood: HB-41 already share a common image circle within the camera,
Close Focus Distance: 8.267 inches (21 centimeters) this guarantees a seamless panorama. However, I find that I
Reproduction Ratio: 1:2.7 can only shift (left or right) one-half of the permitted distance
Focus Throw: 90 without causing some vignetting. Still, I can produce a three-
Weight: 25.76 ounces (730 grams) shot panorama with no special panorama head in a jiffy and
Pros: Sharp lens, 9 blades, tilt/shift, very close focus they are excellent. I dont feel they are as perfect for stacked
distance. three-shot panoramas than using the CV-125 and a pano
head, however.
Cons: No 1:1, very short focus throw, heavy.
Pros: Fast lens, 9 blades, very sharp, good close focus.

Cons: Short focus throw, does not go to 1:1, tilt/shift features
require a learning curve.
Nikon Nikkor 24mm PC-E f/3.5 19

Nikon Nikkor 24mm PC-E f/3.5 (crop from full frame) 20

Nikon Nikkor 24mm PC-E f/3.5 maximum close-up 21

This is a wonderful lens and, like its little brother the 50mm
Makro-Planar, it very, very sharp. The build is tough and
elegant. I wish its near-focus distance was a little shorter
and it does not go to 1:1, which is perhaps its main fault. It is
no wonder it has such fanatical followers. As for my use of it,
IMO there is a little too much contrast in the output and the
colors are not APO and seem to lack some of the subtlety
found in APO lenses like the CV-125 APO-Lantar, Leica
100mm APO Elmarit R, and the Coastal Optics 60mm APO
lens.
That aside this would be a wonderful lens for anyone.
Lens: Zeiss 100mm f/2 ZF.2 Makro-Planar

Focal Length: 100mm
Aperture Blades: 9
Filter Size: 67mm
Hood: Included
Focus Throw: 360
Pros: Very sharp lens, Fast lens, good focus throw, 9

blades.
Cons: No 1:1, heavy-ish, near focus could be closer.

Zeiss 100mm f/2 ZF.2 Makro-Planar (crop from full frame) 23

Zeiss 100mm f/2 ZF.2 Makro-Planar (maximum close-up) 24


This is a real workhorse of a macro lens, especially for copy
work. I shot over 30,000 concert posters with this lens and it
worked better than any other lens I could put my hands on.
If I had the Coastal Optics 60mm at the time, perhaps only
that would have been a better lens for copy work.
The 60mm Nikon macro is not what the 105mm focal range
can provide and most macro photographers want that extra
distance between them and their subjects. The 60mm does
not provide that and I never use it for that ultra-close work
that the 100mm or 200mm macro lenses provide. Instead,
60mm macros are for larger subjects, what I call dioramas
or mini-landscapes such as a close-up of a flower and as
much of the bush it is on also in the same frame, and so on.
If you are thinking of macro as the eye of the dragonfly or
the bees knees, this lens is not that. But the more I learn
about close-up photography, the more the 60mm focal
length is becoming useful to me. This lens is all about
context and story. Wider-angle lenses allow us to tell more
of a story than do the longer focal lengths.
However, the 120 focus throw is too short and makes
focusing a real problem, especially if you want to stack
photos. The 1:1 image frame is a real plus and makes this
lens very attractive. And it is light and can slip into a pocket.
Lens: Micro-Nikkor 60mm f/2.8 G

Focal Length: 60mm
Aperture Blades: 9
Filter Size: 62mm
Hood: HB-42
Focus Throw: 120
Pros: Fast lens, 9 blades, close focus, VERY sharp, goes to

1:1.
Cons: Short focus throw.
Micro-Nikkor 60mm f/2.8 G 26

Micro-Nikkor 60mm f/2.8 G (crop from full frame) 27

Micro-Nikkor 60mm f/2.8 G (maximum close-up) 28

Micro-Nikkor 60mm f/2.8 G 29

This quite new and very expensive lens is very, very sharp.
And while it may have been designed (only 1 90-degree
focus throw) for people photos and as a walking-around
lens, it makes a very good wide-angle close-up lens for
macro shooters. With a very close near focus (< 10 inches),
you can poke this little baby right in the midst of a bunch of
flowers and get one very close and see everything else in
the vicinity at the same time.
There has been some discussion about auto-focus not
being exact on this lens but as a macro shooter that means
little to me. I shoot with manual focus anyway. I am sorry the
focus throw is so darned short, which makes focus stacking
trickier than it otherwise would have been. And of course,
as a wide angle it does not go to 1:1. There are older Nikon
wide-angle lenses (35mm and 28mm) that also do a superb
job at a much lower cost, so dont ignore those.
IMO this is a magic lens that is very useful for mini-
landscapes, dioramas, and the like plus it is great for people
and parties at the same time.
Lens: Nikon Nikkor 35mm f/1.4 G

Focal Length: 35mm
Aperture Blades: 9
Filter Size: 77mm
Hood: HB-59
Reproduction Ratio: 0.179x
Focus Throw: 090
Pros: Very fast lens, VERY sharp, 9 blades, short focus.
Cons: Short focus throw, no 1:1, heavy-ish.

Nikon Nikkor 35mm f/1.4 G (crop from full frame) 31

Nikon Nikkor 35mm f/1.4 G (Maximum close-up) 32


Aside from being very expensive ($4500), the CO-
60 APO lens is somewhat of a specialized lens. It
is designed for use not only in the visual spectrum
but also in the infrared and ultra-violet spectrums on
either side of the visual spectrum. It was designed for
forensic and scientific use. If you were looking for a
copy-camera lens in a studio, this would be just about
perfect. Lens expert Lloyd Chambers states that the
CO-60mm is a reference lens for other lenses On a
scale of 1 to 5, it is a 5+.
It does have its problems, foremost among them is the
fact that this lens has a prominent hotspot at smaller
apertures around magnifications of 1:3. For distances
longer than this, there is no problem. However, as a
macro photographer the 1:3 range means I have run
into these hotspots many times and they do ruin a
photo. Not sure what the thinking is on why such an
expensive and perfect lens should have such a glaring
fault. Perhaps it is that we should be grateful to have
this fantastic lens, warts and all. A workaround is to
use the very smallest extension ring to help bypass the
hotspot range. Another trick is to use a high-megapixel
camera like the Nikon D3x and avoid the hotspot range
and then crop out what you are trying to capture, given
the extra pixels. I have done both successfully.
Aside from the hotspot I have other issues with this
lens, in particular the very short focus throw of around
210 degrees. Compared to 630 on the CV-125, 210
is difficult especially since a focal length of 60mm is
wide enough that even the smallest change in the
Lens: Coastal Optics 60mm f/4.0 APO Macro focusing barrel produces a noticeable change. This
Focal Length: 60mm makes it hard to focus stack with the CO-60mm. Macro
Widest Aperture: f/4 lenses benefit from having long focus throws, more so
Narrowest Aperture: 45 the wider they get.
Aperture Blades: 7 The other issue that I have encountered, although
Filter Size: 52mm
no one else seems to worry about this, is that when
Hood: Does not include a hood. Use Nikon HR-2
shooting in mixed light such in the shadows of a forest
Reproduction Ratio: 1:1.5 (2/3rds original size) canopy where a shaft of sunlight is cutting through the
Focus Throw: 210 shade, the CO-60mm appears to be more sensitive to
Weight: 19 ounces (535 grams) light dynamics. The result is the need to use diffusers
carefully to filter the brighter light areas.
Pros: Wickedly sharp, short focus distance. That being said, this is a wonderful lens indeed. It
comes with no hood, but really needs one. I use the
Cons: Slow lens, only 7 blades, short focus throw, does not
go to 1:1, hot spot at 1:3.
rubber hood, Nikon HR-2 on my copy.

Coastal Optics 60mm f/4.0 APO (crop from full frame) 35

Coastal Optics 60mm f/4.0 APO (crop from full frame) 36

Coastal Optics 60mm f/4.0 APO (maximum close-up) 37


This lens is an all-metal construction with a hard-rubber
focusing ring. The included lens cap is a pain and should
not be used as it requires you to remove the screw-in hood
each time you use it. I bought a Nikon 52mm pinch-cap
and that solved the problem. I intend to find a rubber 52mm
hood and get rid of the original metal dome.
No less an authority than Lloyd Chambers states that this
lens is equal to the Zeiss 50mm f/1.4 Makro-Planar and
better than the Holy Grail of Nikons, the legendary Noct-
Nikkor 58mm/f.1.2. This is saying a lot. Test results by
others show this lens not great wide open but very strong
from f/4 or f/5.6 and even stronger at f/8 and fine at f/11.
This is unusual and makes the Nokton perfect for close-up
nature photography. It is also one of the least-expensive top
quality lenses available today.
Lens: Voigtlander 58mm f/1.4 Nokton

Focal Length: 58mm
Aperture Blades: 9
Filter Size: 58mm
Hood: Use Pearstone 58mm snap-on Tulip hood.
Reproduction Ratio: 1:5.8
Focus Throw: 210
Price 2010: $409 at B&H.
Pros: Very fast lens, very sharp lens, 9 blades.
Cons: Not close focus, no 1:1, 16mm smallest aperture.
Voigtlander 58mm f/1.4 Nokton 39

Voigtlander 58mm f/1.4 Nokton (crop from full frame) 40

Voigtlander 58mm f/1.4 Nokton (maximum close-up) 41

This is not a macro lens or even a close-up lens, but at the
wide end it can do in a pinch for close-up mini-landscape
shots. It is very sharp, fast, but has a very limited focus
throw, typical for a lens designed (I guess) for shooting
moving targets.
Lens: Nikon Nikkor 24mm-70mm AF-S f/2.8 G ED

Focal Length: 24mm-70mm
Aperture Blades: 9
Filter Size: 77mm
Hood: HB-40
Focus Throw: 90
Pros: Fast lens, sharp lens, close focus distance, 9 blades.
Cons: No 1:1, very short focus throw, heavy.

Nikon Nikkor 24mm-70mm AF-S f/2.8 G ED (crop from full frame) 43

Nikon Nikkor 24mm-70mm AF-S f/2.8 G ED (maximum close-up) 44

The Nikon 16mm Fisheye lens is the opposite of a macro
lens which oddly enough makes it useful to me in my work
as antidote for what I normally do. Instead of getting close,
up this rectilinear (framed like any other lens and not a
circular fisheye lens) is able to cram almost the entire world
into the shot, including my feet and too often the tripod itself.
Thanks to special software in post (I use the built-in feature
in Adobe Lightroom) the resulting photos can be more-or-
less straightened out to appear as a normal photo, but one
maybe on LSD. For myself, I love this lens and it is small
enough to jam in a pocket or a bag. With a near focus
distance of some 10 inches I can highlight a single flower
close-up and have the whole meadow in which it sits looking
over its shoulder.
Although this is lens is relatively sharp, it is not sharp
enough to be totally convincing, but that is not its purpose
anyway. I love the 3D or otherworldly sense that this lens
offers and I have sought to replicate this effect but with deep
focus by using a panoramic head and focus stacking, and
with some success. It took my years to succumb to owning
this lens, but that was a mistake on my part. The 16mm
rectilinear fisheye is a lens I would not part with.
Lens: Nikon Nkikor 16mm f/2.8 Fisheye

Focal Length: 16mm
Aperture Blades: 7
Filter Size: CAP
Hood: Built In
Focus Throw: 60
Pros: Fast lens, sharp-ish, good close focus, goes 1:1, 7

blades.
Cons: Very short focus throw, not sharp enough for the
finest work.
45
Nikon Nkikor 16mm f/2.8 Fisheye
Nikon Nkikor 16mm f/2.8 Fisheye (crop from full frame) 46

Nikon Nkikor 16mm f/2.8 Fisheye (maximum close-up) 47

This is one of the legendary macro lenses, a true APO

(apochromatic) lens. 100mm is a great macro focal length,
and the focus throw is a whoppin 710, just what a focus-
Lens: Leica 100mm Apo Macro Elmarit R Lens f/2.8 stacker like me is looking for incremental focus. This lens
Focal Length: 100mm was never made for the Nikon mount, so if you find one
Widest Aperture: f/2.8 of these and want it on a Nikon, you will have to make the
Narrowest Aperture: 22 conversion yourself. That is what I did.
Aperture Blades: 7
Not only is this one of the sharpest macro lenses ever
Filter Size: 60mm
made, but it has an almost movie-like feel to the color, very
Hood: Pull out hood.
soft and delicate. It does not got to 1:1, but only to 1:2, so
that is not great, although the accompanying Elpro diopter
Reproduction Ratio: 1:2/1:1
can be purchased which brings it to 1:1. However, as a rule
Focus Throw: 710
I dont like close-up adapters, although this is probably the
best one I have ever seen. But there is some bad news with
this lens on a Nikon Camera.
Pros: Fast lens, 7 blades, reasonable short focus, great
focus throw. There is no way that you can enable the ability of this lens
on a Nikon to automatically open up when you use the
Cons: Does not go to 1:1 without help, no automatic viewfinder and then stop down at the appropriate aperture
aperture (have to open to focus and close to shoot). when the shot is taken. Cant be done because what is
needed is a mechanical lever and it just is not present. So,
what this means is that for every shot you have to manually
turn the aperture ring wide open, focus, and then look to see
and turn the aperture to where you want it for the exposure.
This is an acquired taste and the learning curve involves
forgetting to stop down and the resultant over-exposure.
The net result is that, although this is one of the great
lenses, I seldom choose it when I have other lenses that
will let me see at the widest aperture in the viewfinder and
automatically stop down for the exposure.
This lens is outstanding (a class act) and comes in a little
form-fitting leather case that zips up.
Leica 100mm Apo Macro Elmarit R Lens f/2.8 48

Leica 100mm Apo Macro Elmarit R Lens f/2.8 (crop from full frame) 49
Leica 100mm Apo Macro Elmarit R Lens f/2.8 (maximum close-up) 50

Leica 100mm Apo Macro Elmarit R Lens f/2.8 51

This is one of the legendary macro lenses, a true APO
(apochromatic) lens. 100mm is a great macro focal length,
and the focus throw is a whoppin 710, just what a focus-
stacker like me is looking for incremental focus. This lens
was never made for the Nikon mount, so if you find one
of these and want it on a Nikon, you will have to make the
conversion yourself. That is what I did.
Not only is this one of the sharpest macro lenses ever
made, but it has an almost movie-like feel to the color, very
soft and delicate. It does not got to 1:1, but only to 1:2, so
that is not great, although the accompanying Elpro diopter
can be purchased which brings it to 1:1. However, as a rule
I dont like close-up adapters, although this is probably the
best one I have ever seen. But there is some bad news with
this lens on a Nikon Camera.
There is no way that you can enable the ability of this lens
on a Nikon to automatically open up when you use the
viewfinder and then stop down at the appropriate aperture
when the shot is taken. Cant be done because what is
needed is a mechanical lever and it just is not present. So,
what this means is that for every shot you have to manually
turn the aperture ring wide open, focus, and then look to see
and turn the aperture to where you want it for the exposure.
This is an acquired taste and the learning curve involves
forgetting to stop down and the resultant over-exposure.
The net result is that, although this is one of the great
lenses, I seldom choose it when I have other lenses that
will let me see at the widest aperture in the viewfinder and
automatically stop down for the exposure.
This lens is outstanding (a class act) and comes in a little
form-fitting leather case that zips up.
Lens: Leica Elpro 1:2-1:1 Close-Up Lens R

Focal Length: 100mm
Narrowest Aperture: N/A
Aperture Blades: N/A
Filter Size: 60mm
Hood: Included
Close Focus Distance: Filter
Focus Throw: N/A, filter
Pros: Works quite well with the 100mm Leica
Cons: Still is an add-on lens to get to 1:1.
Leica 100mm Apo Macro Elmarit R Lens f/2.8 w/ Elpro frame) 52

Leica 100mm Apo Macro Elmarit R Lens f/2.8 w/ Elpro (maximum close-up) 53
Leica 100mm Apo Macro Elmarit R Lens f/2.8 w/ Elpro frame) 54

This is the current version of the classic Nikon 105mm
Micro-Nikkor but is much bulkier, heavier, and more
expensive than pulling an earlier model off Ebay. I would
stick with the earlier models since (believe it or not) they are
sharper, at least for very close work.
There is one and only one reason I still own this lens and
that is for hand-held chase-the-butterfly photography. For
the most part I am always on a tripod, but for some subjects
I need to sneak up on them and follow their movements.
The addition of the VR in this version works quite well and
makes it the best lens for this kind of job.
The VR 105mm lens also is relatively fast and goes to the
1:1 reproduction ratio without the addition of extension tubes
or close-up lenses. This alone is a big plus. In fact, if I sit
down and add up all the qualities needed for a good macro
lens, the Nikon 105mm VR is always near the top. It is fast,
goes to 1:1, focuses close, has 9 blades for good bokeh,
and has a reasonable focus throw. All these added together
suggest that this might be the best all-around macro lens for
beginners.
OLDER 105mm Miicro-Nikkors

There were a number of older 105mm macros. Here are
the specs for the version before the VR release. All of these
earlier 105mm macros are good basic macor lenses and
worth picking up if the price is right.
Lens: Micro-Nikkor 105mm f/2.8 V

Aperture Blades: 9
Lens: Micro-Nikkor 105mm f/2.8 VR Lens Filter Size: 52mm-62mm
Focal Length: 105mm Hood: HS-7
Widest Aperture: f/2.8 Focus Throw: 180
Narrowest Aperture: 32 Weight: 19.75 ounces (560 grams)
Aperture Blades: 9
Filter Size: 62mm Pros: Sharp lens, 9 blades, good near focus
Hood: HB-38
Close Focus Distance: 12.36 inches (31 centimeters) Cons: Could be sharper, a little heavy, marginal focus
Reproduction Ratio: 1:1 throw.
Focus Throw: 270
Pros: Sharp lens, 9 blades, good near focus, ample focus

throw, VR, gets to 1:1.
Cons: Could be sharper, a little heavy.
Micro-Nikkor 105mm f/2.8 VR Lens 55

Micro-Nikkor 105mm f/2.8 VR Lens (crop from full frame) 56

Micro-Nikkor 105mm f/2.8 VR Lens (maximum close-up) 57

Micro-Nikkor 105mm f/2.8 VR Lens 58

I mention this and the new D version of the classic 85mm
f/1.4 not because I use it often but because it is a sharp lens
that many professional photographers already have in their
kit. I use it once in a while for extremely low-light occasions
for shooting mid-sized bushes, plants, etc. Actually, more of
the time now in low-light situations I am now using the D3s
and pushing the ISO, so I list it here just to keep it in mind.
Lens: Nikon Nikkor 85mm f/1.4 G

Focal Length: 85mm
Aperture Blades: 9
Filter Size: 77mm
Hood: N/A
Close Focus Distance: 36 inches (91 centimeters)
Focus Throw: 90
Pros: Very fast lens, VERY sharp, 9 blades.
Cons: long focus distance, no 1:1, very short focus throw,

heavy-ish.

Nikon Nikkor 85mm f/1.4 G (crop from full frame) 60

Nikon Nikkor 85mm f/1.4 G (maximum close-up) 61

The 70-180mm Micro-Nikkor is a nice idea, a macro lens
that zooms. I used this lens almost exclusively for almost
two years, so I really know it inside and out. It is nice to
zoom around, to pull out or focus in to adjust a shot without
having to move the tripod. All this is fine. But I never do
much macro or close-up work at 70mm. Most to all is
done at the other end of the focus range, around 180mm
and when down there the f-stop for this lens is f/5.6 which
(simply put) is too damned dim for my eyes in the viewfinder.
I like the early morning light of dawn or the twilight to shoot
and I find there is not enough light to see to focus with this
lens, especially if I want to stack photos. The viewfinder is
dark at f/5.6 except in bright light. Why bother?
I will say that there is a magic with this lens that I do
love. Somehow the images have an almost film look to
them which I like. And the lens is sharp enough, but not
tack sharp and the resulting photos tend to be too dark or
heavy/contrast-y in some sense not present in my Zeiss or
Voigtlander lenses. And it weight almost two pounds!
If you work in bright light a lot, you might consider this lens.
Otherwise, you are better off with a lens that will go 1:1 and
is faster like the Nikon 105mm Micro-Nikkors.
Lens: Micro-Nikkor 70mm-180mm AF f/4.5-5.6 D

Widest Aperture: f/4.5-5.6
Narrowest Aperture: 32-40
Aperture Blades: 9
Filter Size: 62mm
Hood: HB-14,HN-23
Reproduction Ratio: 1:32/1:3.2
Focus Throw: 180
Pros: Zoom macro lens, 9 blades, reasonable focus throw.
Cons: VERY slow lens, long near focus, does not get close
to 1:1, heavy.

Micro-Nikkor 70mm-180mm AF f/4.5-5.6 D (crop from full frame) 63

Micro-Nikkor 70mm-180mm AF f/4.5-5.6 D (maximum close-up) 64


This is probably Nikons sharpest macro lens and also its
heaviest (over two pounds), so it really can only be used
effectively on a solid tripod. This lens is well built, very
sharp, and the focus throw is a healthy 300 degrees, which
is good for focus stacking. My only complaint is that the f/4
wide aperture dims my viewfinder too much for really low
light work, and it is heavy!
According to Canon users this Micro-Nikkor 200mm lens
bests even the classic Canon 180mm f/3.5 L USM. This
lens can also be used for normal landscape photography as
can any macro lens. Not all macros are sharp for distance
shots, but this lens is, so it has a dual purpose, macro and
landscape.
This is an auto-focus lens, but it is quite slow and no good
macro shooter I have met ever uses auto-focus except
perhaps to jump to the general ballpark area for the shot.
This lens has internal focusing, so there is no change in
the lens length while focusing. The tripod collar rotates
90-degrees so you can switch from horizontal to vertical (or
back) in a moment, which is a real plus.
However it does get to 1:1 and is as sharp as you could
want (a classic), so it is the favorite of many Nikon macro
shooters. I have one but use it seldom as the Voigtlander
125mm APO is better in all ways I care about.
Lens expert Bjrn Rrslett points out that if you use the 6T
close-up lens to extend the reproduction ratio, it should be
mounted in reverse on this lens to obtain maximum corner
sharpness. The lens collar that comes with this lens is weak
and easily is broken. Instead, I use a lens collar from Kirk
Enterprises (part # NC-300) which avoids that problem.
Lens: Micro-Nikkor 200m AF f/4 ED-IF Macro

Focal Length: 200mm
Aperture Blades: 9
Filter Size: 62mm
Hood: HN-30, HN-23, HN-30
Focus Throw: 300
Pros: Very sharp lens, gets to 1:1, good focus throw, 10

inches from front of lens, rotating collar.
Cons: Slow lens, heavy, not great bokeh.
Micro-Nikkor 200m AF f/4 ED-IF Macro 66

Micro-Nikkor 200m AF f/4 ED-IF Macro (crop from full frame) 67

Micro-Nikkor 200m AF f/4 ED-IF Macro (maximum close-up) 68

Micro-Nikkor 200m AF f/4 ED-IF Macro 69

This was for years one of Nikons best and sharpest lenses.
This is not a dedicated macro lens, but has a macro mode
which lets you get to around 14 inches (24 inches is as
close as the non-macro mode allows). The macro mode is a
little softer than the standard mode. Although the lens is an
early auto-focus lens, in macro mode it defaults to manual
focus, which is what macro shooters need anyway.
I list this lens because I had it early on and it is a kind of
lens for all seasons, even if it is an old-ish lens by this
point. It has those ancient pull-out tubes, which are not my
favorite. Still, some of you just starting out and on a budget
could pick up a copy that will do portraits, landscapes, and
even a little macro. There is no question it is a sharp lens. It
has a solid build.
Lens: Nikon Nikkor 35-70mm AF Zoom f/2.8 D Lens

Aperture Blades: 7
Filter Size: 62mm
Hood: HB-1
Focus Throw: 360
Price 2011: Approximately $300 on Ebay.
Pros: Fast lens, sharp lens, 7 blades, close focus distance,

goo focus throw.
Cons: No 1:1, heavy.
Nikon Nikkor 35-70mm AF Zoom f/2.8 D Lens 70

Nikon Nikkor 35-70mm AF Zoom f/2.8 D Lens (crop from full frame) 71
Nikon Nikkor 35-70mm AF Zoom f/2.8 D Lens (maximum close-up) 72

This is not a macro or a really a close-up lens, but rather a
portrait lens that features a de-focus control that allows you
to selectively blur the background. It is useful only for mini-
landscapes, plants, bushes, and so on.
105DC (39.37 inches)
Lens: Nikon Nikkor 135mm AF DC f/2

Focal Length: 135mm
Aperture Blades: 9
Filter Size: 72mm
Hood: BUILT-IN
Close Focus Distance: 3.6089 (1.0999 meters)
Focus Throw: 130
Pro: Fast lens, sharp lens, 9 blades.
Cons: Long focus distance, no 1:1, very short focus throw,

heavy.
Nikon Nikkor 135mm AF DC f/2 73

Nikon Nikkor 135mm AF DC f/2 (crop from full frame) 74

Nikon Nikkor 135mm AF DC f/2 (maximum close-up) 75

I mention this and the new G version of the classic 85mm
f/1.4 not because I use it often but because it is a sharp lens
that many professional photographers already have in their
kit. I use it once in a while for extremely low-light occasions
for shooting mid-sized bushes, plants, etc. Actually, more of
the time now in low-light situations I am now using the D3s
and pushing the ISO, so I list it here just to keep it in mind.
Lens: Nikon Nikkor 85mm f/1.4 D

Focal Length: 85mm
Aperture Blades: 9
Filter Size: 77mm
Hood: HN-31
Reproduction Ratio: 1.9.09
Focus Throw: 90
Pros: Very fast lens, very sharp, 9 blades
Cons: No close distance, no 1:1, heavy, short focus throw.
Nikon Nikkor 85mm f/1.4 D 76

Nikon Nikkor 85mm f/1.4 D (crop from full frame) 77

Nikon Nikkor 85mm f/1.4 D (maximum close-up) 78

What is a 300mm lens doing in the same context as macro
and close-up lenses? This very sharp telephoto lens is here
for one purpose and that is for use with the Nikon D3x and
that only thanks to the fact that it has relatively the shortest
near distance of any good-sized telephoto lens, a little under
five feet. Attach the Nikon 300mm f/4 lens on a D3x and you
can pick off frogs in the middle of a pond and, because the
resulting photo has so many megapixels, crop out the frog
from the center of the image and still have enough pixels to
make a decent photo out of your crop.
In addition, if you put the Nikon AF-S TC-20E-III 2x
Teleconverter on any full-frame Nikon you can get right up
close and take decent macro photos. No doubt that the
Nikon 300mm needs plenty of light for your viewfinder, it
wont be too useful in dim light.
Lens: Nikon Nikkor 300mm AF-S f/4 ED IF

Focal Length: 300mm
Aperture Blades: 9
Filter Size: 77mm
Hood: Built-in
Focus Throw: 180
Pros: Sharp lens, 9 blades, short focus distance for a

telephoto.
Cons: No 1:1, short focus throw, heavy (of course).
Nikon Nikkor 300mm AF-S f/4 ED IF 79

Nikon Nikkor 300mm AF-S f/4 ED IF (crop from full frame) 80

Nikon Nikkor 300mm AF-S f/4 ED IF (maximum close-up) 81

This very sharp, fast, and ever-so-popular telephoto lens is
something most professional photographers have in their
bag and already own. Attach the Nikon 200mm VRII on
a D3x and you can pick off frogs in the middle of a pond
and, because the resulting photo has so many megapixels,
crop out the frog from the center of the image and still have
enough pixels to make a decent photo out of your crop.
In addition, if you put the Nikon AF-S TC-20E-III 2x
Teleconverter on any full-frame Nikon you can get right up
close and take decent macro photos.
Lens: Nikon Nikkor 70mm-200mm AF VRII f/2.8 GII AFS

ED-IF
Aperture Blades: 9
Filter Size: 77mm
Hood: HB-48, HN-28
Close Focus Distance: 4.59317 feet (1.3999 meters)
Focus Throw: 90
Weight: 51.79 ounces (1468 grams).
Pros: fast lens, sharp, VR, 9 blades.
Cons: Not close focus, very short focus throw, no 1:1, heavy.
Nikon Nikkor 70mm-200mm AF VRII f/2.8 GII AFS ED-IF 82

Nikon Nikkor 70mm-200mm AF VRII f/2.8 GII AFS ED-IF (crop from frame) 83
Nikon Nikkor 70mm-200mm AF VRII f/2.8 GII AFS ED-IF (max close-up) 84
This is not a macro lens and not really a close-up lens
either, so lets say it is a semi-close-up lens. This is lovely
little lens looks like a miniature version of its big brother
the Voigtlander 125m APO-Lanthar. And like is brother, the
180mm is also APO and very sharp. However, this lens is
difficult to find and is no longer manufactured. Like the CV-
125, this lens has an outer metal shell and a relatively long
(and very smooth) focus ring. The lens is sharp by f/5.6 and
also still strong at f/8.
For nature photography it gives you plenty of distance (you
have no choice), so shots of butterflies on flowers and
plants of all kinds are what it is best for. It is light compared
to the CV-125. I have not used it for landscapes or infinity
shooting, so I cant speak to that. It took me years to find a
copy of this lens, so good luck!
Lens: Voigtlander 180mm APO f/4

Focal Length: 180mm
Aperture Blades: 9
Filter Size: 49mm
Hood: Square, included.
Focus Throw: 290
Pros: Sharp lens, 9 blades, reasonable focus throw.
Cons: No close focus, slow lens, heavy-ish.
Voigtlander 180mm APO f/4 85

Voigtlander 180mm APO f/4 (crop from full frame) 86

Voigtlander 180mm APO f/4 (maximum close-up) 87

lenses, this one plus the 85mm and 24mm PC. While all
three are exemplary lenses, I find the 45mm PC the most
useful for macro and close-up work. The PC stands for
perspective control through the tilt and shift features.
side is permitted.
Using this lens I can stick it very close to a flower and
Lens: Micro-Nikkor 85mm f/2.8 PC Tilt/Shift Lens capture it and the surrounding space easily. The shift
Focal Length: 85mm feature allows me to take three photos (left-shift, middle,
Widest Aperture: f/2.8 right-shift) and combine them with a stitching program to
Narrowest Aperture: 32 produce a seamless mini-panorama. Since all three photos
Aperture Blades: 9 already share a common image circle within the camera,
Filter Size: 77mm this guarantees a seamless panorama. However, I find that I
Hood: HB-22 can only shift (left or right) one-half of the permitted distance
Close Focus Distance: 15.35 inches (39 centimeters) without causing some vignetting. Still, I can produce a three-
Reproduction Ratio: 1:2 shot panorama with no special panorama head in a jiffy and
Focus Throw: 120 they are excellent. I dont feel they are as perfect for stacked
Weight: 22.4 ounces (635 grams) three-shot panoramas than using the CV-125 and a pano
head, however.
Pros: Fast lens, 9 blades, sharp lens.
This is a wonderful lens that is indeed very sharp and may
interest some of you. That being said, the Nikon 85mm
Cons: Near focus a little long, does not get to 1:1, very short
PC-E lens is a lens I dont frequently carry with me because
focus throw.
I have a number of fine macro lenses in the 90-125mm
focal range. Tilt and shift are not things I tend to do close-up
although they can be useful on occasion. If I am shooting
landscape or even mini-landscape I generally go wider than
85 degrees.

Micro-Nikkor 85mm f/2.8 PC Tilt/Shift Lens (crop from full frame) 89

Micro-Nikkor 85mm f/2.8 PC Tilt/Shift Lens (maximum close-up) 90


This little gem is probably the least-expensive top quality
APO lens on the market for the value you get. This is an all-
metal lens that is built like a tank. It is smallish and includes
a close-up filter that screws into the hood of the lens. This
is as odd-shaped lens compared to most lenses, but the
sharpness and clarity are right up there with the best of
lenses and here is APO at a price anyone can afford. The
SL-II version (most recent) of this lens is fully metered to
Nikon bodies. It is a manual focus lens.
The little 39mm hood adaptor allows you to screw in
the small close-up lens which has its own tiny lens cap.
Otherwise you can bag the close-up and hood and treat
this as any 52mm lens. Just get yourself a 52mm rubber
lens cap like the Nikon HR-2 (and pinch-type lens cap) and
presto!, you have a normal-looking lens.
If you yearn for the APO coloring you find in the Voigtlander
CV-125 and Leica 100mm APO Elmarit, which are four or
five times more expensive, then here is a lens that can get
you there. It is a little slow and requires a close-up lens (so
does the Leica) to get you to 1:1.
Lens: Voigtlander 90mm f/3.5 SL-II APO-Lanthar

Focal Length: 125mm
Aperture Blades: 9
Filter Size: 58mm
Hood: Include, small hood.
Close Focus Distance: 19.68 inches (50 centimeters), 12.6
inches (32 centimeters)
Reproduction Ratio: 1:3.5/1:1.8
Focus Throw: 270
Pros: Very sharp lens, APO, 9 blades, close focus only with
close-up lens, ample focus throw.
Cons: Slow lens.
Voigtlander 90mm f/3.5 SL-II w/ close-up lens 92

Voigtlander 90mm f/3.5 SL-II (crop from full frame) 93

Voigtlander 90mm f/3.5 SL-II (maximum close-up) 94

Voigtlander 90mm f/3.5 SL-II w/ close-up lens (maximum close-up) 95

Voigtlander 90mm f/3.5 SL-II w/ close-up lens (maximum close-up) 96

This lens was very popular years ago and there are many
still available on Ebay at reasonable prices. This is not a
macro lens but just a very, very sharp 105mm manual focus
lens that you can easily find. It is useful for mini-landscapes,
bushes, etc. anything about three feet from wherever you
are.
Lens: Nikon Nikkor 105mm AI-S f/2.5 (built-in hood)

Focal Length: 105mm
Aperture Blades: 7
Filter Size: 52mm
Hood: HN-8, HS-4
Focus Throw: 140
Pros: Fast lens, very sharp, 7 blades.
Cons: Long focus, short focus throw, no 1:1, heavy.

Nikon Nikkor 105mm f/2.5 (crop from full frame) 98

Nikon Nikkor 105mm f/2.5 (maximum close-up) 99

This lens produced by Kiron (Lester A. Dine) is a sharp lens
and worth looking at especially if you are on a budget. There
are many different lenses (both in 100mm and 105mm) that
are essentially the same lens. They have also been issued
not only under the Kiron and Lester A. Dine label, but also
by Vivitar. I have seen them on Ebay for $250. This lens
does go to 1:1 (which is rare!) and has a very good focus
throw. It was originally marketed mostly to dentists. The
same lens has been advertised as a f/2.5 when sold by
Elcar and as a f/2.8 when sold by Cosina, Panagor, Soligor,
Vivitar, Kiron, and sold to dentists as the Lester A. Dine. The
results with this lens are sharp and this lens should be on
your short list if you want a solid macro lens and dont want
to lay out the big bucks. It will do the job. You should be able
to find one if you look for a while.
Lens: Kiron (Lester A. Dine) 100mm f/2.8 Macro

Focal Length: 100mm
Aperture Blades: 8
Filter Size: 52mm
Hood: Pull out hood.
Focus Throw: 390
Weight: 22 ounces (623.7 grams)
Pros: fast lens, Sharp, 8 blades, reasonable close focus,

good focus throw, goes to 1:1.
Cons: None.

Kiron (Lester A. Dine) 100mm f/2.8 Macro (crop from full frame) 101
Kiron (Lester A. Dine) 100mm f/2.8 Macro (maximum close-up) 102


This top-quality manual-focus macro lens is very sharp,
at least at close distances and is not recommended for
landscape or distance shooting. There were two versions,
one with a compensating diagram (marked P) and one
without (no P suffix). The P version is the one to get.
There are a number of Nikon 55mm f/3.5 versions of this
micro and some care has to be taken to find the correct lot.
One way is the make sure the serial number of the lens is
between 600001 and 728347. One good way to find this
lens is to check KEH.com. They usually have a number of
copies and at a reasonable price. This might be the sharpest
macro lens for the least money available. It is all manual.
Lens expert Bjrn Rrslett suggest that the correct lens has
a chrome barrel, magnification factors printed in light blue,
and hill-and-dale focusing and aperture collars. See his site
for more details: http://www.naturfotograf.com
Lens: Micro-Nikkor 55mm P Auto 55mm f/3.5 (672490)

Focal Length: 55mm
Aperture Blades: 6
Filter Size: 52mm
Hood: HN-3
Focus Throw: 300
Pros: Close focus, long focus throw, very sharp.
Cons: 6 Blades, does not go to 1:1, slow lens.

Micro-Nikkor 55mm P Auto 55mm f/3.5 (crop from full frame) 105
Micro-Nikkor 55mm P Auto 55mm f/3.5 (maximum close-up) 106


I learned how to use this lens from Bjrn Rrslett and
http://www.naturfotograf.com. Of course it works great
on a bellows for studio work, but that is not how Rrslett
uses it. Instead, he mounts this lens (not-reversed) on its
sibling 105mm f/4 (which is the identical lens to this bellows
version) but in a standard lens tube with focus ring, etc. The
two lenses are coupled using the Nikon K3 ring. Through
this amazing combination, Rrslett claims that no light is lost
and the two lenses equal a 50 mm f/2 lens.
This lens combination is very effective for ultra-close macro
shots although focus takes patience and there is very little
distance between the end of the lens and your subjects.
Lens: Micro-Nikkor 105mm P f/4 Macro Bellows Lens

Focal Length: 105mm
Aperture Blades: 12
Filter Size: 52mm
Hood: None.
Close Focus Distance: N/A
Reproduction Ratio: N/A
Focus Throw: N/A
Pros: 12 blades, light
Cons: Slow lens.
Micro-Nikkor 105mm f/4 + 105mm f/4 Bellows 108

Micro-Nikkor 105mm f/4 + 105mm f/4 Bellows (maximum close-up) 109

This is another of Nikons classic primes. It is still available
new and turns up on Ebay used as well. It is fast, wide, has
great bokeh, lightweight, and has a close near focus. It has
however, an extremely short focus throw so stacking photos
must be done with care. However, wide angle lenses dont
lend themselves to focus stacking and this is a very handy
lens to throw in the bag or stick in a pocket so that you have
wide-angle coverage when you need it. I use it for mini-
landscapes and any larger-than-macro objects.
Lens: Nikon Nikkor 28mm f/2.8

Focal Length: 28mm
Narrowest Aperture: f/22
Aperture Blades: 7
Filter Size: 52mm
Hood: HN-1
Focus Throw: 80
Weight: 9.52 (270 grams)
Pros: Very sharp lens, fast lens, 7 blades, close focus, light.
Cons: No 1:1, very short focus throw.
Nikon Nikkor 28mm f/2.8 AI-S 110

Nikon Nikkor 28mm f/2.8 AI-S (crop from full frame) 111
Nikon Nikkor 28mm f/2.8 AI-S (maximum close-up) 112

This is a real workhorse of a macro lens, especially for copy
work. I shot over 30,000 concert posters with this lens and it
worked better than any other lens I could put my hands on.
If I had the Coastal Optics 60mm at the time, perhaps only
that would have been a better lens for copy work.
The 60mm Nikon macro is not what the 105 focal range
can provide and most macro photographers want that extra
distance between them and their subjects. The 60mm does
not provide that and I never use it for that ultra-close work
that the 100mm or 200mm macro lenses provide. Instead,
60mm macros are for larger subjects, what I call dioramas
or mini-landscapes such as a close-up of a flower and as
much of the bush it is on also in the same frame, and so on.
If you are thinking of macro as the eye of the dragonfly or
the bees knees, this lens is not that. But the more I learn
about close-up photography, the more the 60mm focal
length is becoming useful to me. This lens is all about
context and story. Wider-angle lenses allow us to tell more
of a story than do the longer focal lengths.
However, the 120 focus throw is too short and makes
focusing a real problem, especially if you want to stack
photos. The 1:1 image frame is a real plus and makes this
lens very attractive. And it is light and can slip into a pocket.
That being said, if you dont own one already, get the new
Nikon 60mm G version of this lens. I find it much sharper.
Lens: Micro-Nikkor 60mm f/2.8 D Lens

Focal Length: 60mm
Aperture Blades: 7
Filter Size: 62mm
Hood: H2.22
Focus Throw: 120
Pros: Fast lens, 7 blades, close focus, very sharp, goes to

1:1.
Cons: Short focus throw.

Micro-Nikkor 60mm f/2.8 D Lens (crop from full frame) 114

Micro-Nikkor 60mm f/2.8 D Lens (maximum close-up) 115


This classic Nikon 50mm f/1.8 lens does not really belong
here since it is neither a macro nor a wide-angle lens.
However, it is very, very sharp and lightweight as well. If you
are shooting mini-landscapes, bushes, gardens, dioramas,
there is not reason to ignore this lens, especially if you
already have it.
Lens: Nikon Nikkor 50mm f/1.8 AIS

Focal Length: 50MM
Aperture Blades: 7
Filter Size: 52mm
Hood: HS-11, HR-1
Focus Throw: 130
Pros: Very fast lens, sharp, 7 blades, light
Cons: No close near focus, no 1;1, very short focus throw.
Nikon Nikkor 50mm f/1.8 AIS 117

Nikon Nikkor 50mm f/1.8 AIS (crop from full frame) 118
Nikon Nikkor 50mm f/1.8 AIS (maximum close-up) 119

This is another of Nikons classic primes. It is still available
new and turns up on Ebay used as well. It is fast, wide, has
great bokeh, lightweight, and has a close near focus. It has
however, an extremely short focus throw so stacking photos
must be done with care. However, wide angle lenses dont
lend themselves to focus stacking and this is a very handy
lens to throw in the bag or stick in a pocket so that you have
wide-angle coverage when you need it. I use it for mini-
landscapes and any larger-than-macro objects.
Lens: Nikon Nikkor 24mm f/2.8

Focal Length: 24mm
Narrowest Aperture: f/22
Aperture Blades: 7
Filter Size: 52mm
Hood: HN-1
Focus Throw: 80
Weight: 9.52 (270 grams)
Pros: Very sharp lens, fast lens, 7 blades, close focus, light.
Cons: No 1:1, very short focus throw.

Nikon Nikkor 24mm f/2.8 (crop from full frame) 121

Nikon Nikkor 24mm f/2.8 (maximum close-up) 122

This little pancake lens is solid metal with a hard-rubber
focus ring. It is less than one inch (24mm) long. The front
element is non-rotational but the lens does extend just a
bit while focusing. This is a manual focus less but it does
contain a CPU, so the Nikon matrix metering system works
fine with it. There is a traditional aperture ring which you set
to automatic aperture.
The lens is sharp wide open and very sharp at f/4 and
f/5.6, but this is not APO and does show some chromatic
aberration. The lens comes with a separate (and smaller)
close-up lens that mounts via a dome-shaped step-down
ring. On this ring sits a tiny lens cap. You may wish to keep
the ring and lens cap together and get a standard 52mm
rubber hood.
Because of its small size and weight, this lens is easy to
carry in a pocket add to your bag. This is a high quality lens
at a relatively low price.
Lens: Voigtlander 40mm Ultron f/2.0 SL II

Focal Length: 40mm
Aperture Blades: 9
Filter Size: 52mm
Hood: A dome-shaped aperture ring is included, but it is very
shallow. I use a Pearstone 52mm snap-on Tulip hood.
Close Focus Distance: 17.716 inches (45 centimeters), 9.84
inches (25 centimeters) with close-up lens.
Focus Throw: 160
Price 2011: $409 at B&H.
Pros: Very fast, very sharp lens, 9 blades, light. Close focus
with close-up lens.
Cons: No 1:1, short focus throw.
Voigtlander 40mm Ultron f/2.0 SL II 123

Voigtlander 40mm Ultron f/2.0 SL II (crop from full frame) 124

Voigtlander 40mm Ultron f/2.0 SL II (maximum close-up) 125

35mm is a classic-sized focal length. Here is a fast 35mm
lens that can be picked up for very little money. If you dont
have a 35, here is one worth picking up.
Lens: Nikon Nikkor 35mm f/2.8 AI K-Series

Focal Length: 35mm
Aperture Blades: 6
Filter Size: 52mm
Hood: HN-3
Focus Throw: 195
Pros: Fast lens, sharp, good close focus, light.
Cons: Short focus throw, no 1:1.

Nikon Nikkor 35mm f/2.8 AF K-Series (crop from full frame) 127
Nikon Nikkor 35mm f/2.8 AF K-Series (maximum close-up) 128


Not a macro lens, but it does have a macro mode and
focuses to less than 9 inches. A once-common lens,
professionals are finding this lens of higher quality than
once thought and are beginning to collect it and add it to
their bags. A nice compromise for a zoom.
Lens: Nikon Nikkor 28mm-105mm 1:35/4.5mm D Zoom

Lens 62mm
Aperture Blades: 9
Filter Size: 62mm
Hood: HB-18, HB-23
Focus Throw: 45
Pros: Versatile, close focus, 9 blades.
Cons: Slow, short focus throw, 1:2 reproduction ratio
Nikon 28mm-105mm 1:35/4.5mm D Zoom Lens 130

Nikon 28mm-105mm 1:35/4.5mm D Zoom Lens (crop from full frame) 131
Nikon 28mm-105mm 1:35/4.5mm D Zoom Lens (maximum close-up) 132

This classic lens has the same optics as the 105mm f/4
bellows lens. This is a very sharp lens and quite inexpensive
for a quality lens. usually available used on Ebay at all
times. It is manual focus and its only drawback is that it is
slow (f/4), so viewfinders will not be as well lit if you are
photographing in shade, dawn, or dusk. If you have plenty of
light, no problem.
Lens: Micro-Nikkor 105mm P f/4 Macro Lens

Focal Length: 105mm
Aperture Blades: 7
Filter Size: 52mm
Hood: HN-8,HS-4
Focus Throw: 320
Pros: Very sharp lens, good focus throw, inexpensive
Cons: Slow lens, long near focus, no 1:1.
Micro-Nikkor 105mm P f/4 Macro Lens 133

Micro-Nikkor 105mm P f/4 Macro Lens (crop from full frame) 134
Micro-Nikkor 105mm P f/4 Macro Lens (maximum close-up) 135

This is the lens of choice in my book when it comes to wide-
angle zoom lenses and it pretty-much matches any primes
in its range. Folks complain about its bulbous lens not taking
filters and being unprotected, but that has not bothered me.
Could it be that I seldom use filters? However, it might be
possible for the plastic lens cap to slip off, so I have added
some self-sticking velvet patches to the inside of the cap to
make it fit more snugly.
Lens expert Bjrn Rrslett refers to this lens as the new
reference for wide-angle zoom lenses. The close-focus
distance for this lens is very short so you can pretty much
stick this lens right into a flower patch and get a flower and
the whole patch. I dont have to sing the praises of this lens
as they are all over the web. Check it out.
Aside from the obvious landscape uses, I use this lens for
mini-landscapes, dioramas, and any small scene where I
can have something in the foreground in focus and as much
of everything else as is possible. Expensive lens.
Lens: Nikon Nikkor 14mm-24mm AF-S f/2.8 G ED

Aperture Blades: 9
Filter Size: 77mm
Hood: BUILT-IN
Focus Throw: 60
Pros: Fast lens, very sharp lens, close focus distance, 9

blades.
Cons: No 1:1, very short focus throw, heavy, no filters.

Nikon Nikkor 14mm-24mm AF-S f/1.28 G ED (crop from full frame) 137
Nikon Nikkor 14mm-24mm AF-S f/1.28 G ED (maximum close-up) 138

already have it.
Lens: Nikon Nikkor 50mm AF-S f/1.4 D

Focal Length: 50mm
Aperture Blades: 7
Filter Size: 52mm
Hood: HR-2
Focus Throw: 140
Nikon Nikkor 50mm AF-S f/1.4 D 139

Nikon Nikkor 50mm AF-S f/1.4 D (crop from full frame) 140
Nikon Nikkor 50mm AF-S f/1.4 D (maximum close-up) 141

already have it.
Lens: Nikon Nikkor 50mm AF-S f/1.4 G Lens

Focal Length: 50MM
Aperture Blades: 9
Filter Size: 58mm
Hood: HB-47
Focus Throw: 180
Nikon Nikkor 50mm AF-S f/1.4 G Lens 142

Nikon Nikkor 50mm AF-S f/1.4 G Lens (crop from full frame) 143
Nikon Nikkor 50mm AF-S f/1.4 G Lens (maximum close-up) 144

This very cheap lens has appeared in a number of formats
and mounts. The copy I have is plastic and barely holds
together. It is labeled as a macro lens, but for any practical
purpose it is useless. I would not advise buying this lens
but have seen it on Ebay for under $50. It does work, just is
not a real macro lens. The lens at 210mm would mean the
widest aperture is f/5.6 making the viewfinder (especially at
dawn and dusk) very, very dim.
Lens: Cosina 70mm-210mm f/4.5-f/5.6 Macro Zoom

Aperture Blades: 9
Filter Size: 55mm
Hood: Included
Focus Throw: N/A
Weight: 13 ounces (368.5 grams)
Pros: Cheap, 9 blades
Cons: slowest of the slow aperture, long focus distance,

does not go to 1:1, poorly made.
Cosina 70mm-210mm f/4.5-f/5.6 Macro Zoom 145

Cosina 70mm-210mm f/4.5-f/5.6 Macro Zoom 146

Unsolicited Advice your camera and head outside. With no direct sun, the
whole sky is your diffuser. You cant beat it because there
What follows are comments, notes, suggestions, are no hot spots. I am not talking here about really cloudy
warnings, etc. related to photography, macro and close- days, but just bright hazy skies.
up photography, and focus stacking. They are roughly Sun and Shade -- Shadows mottled with sun rays make
organized and are intended to give you some information for difficult photography, like a forest canopy with rays of
on commonly asked questions and areas where that I feel sunlight. It can be very attractive, but those rays of sun
should be pointed out. blow out easily and conflict with all that shade. Better to
have a fine diffuser at these times to filter the sun a bit and
Equipment bring it down to being less stark.
Good Lenses When I was just starting out and did not Flash I tried it (and a lot) and didnt like what it did to
want to spend any money on a hobby that I might not the photos and the subjects. I know it is the way to go
stick with I was ingenious at rationalizing why I should buy for certain kinds of definition, but I dont need it at the
cheap lenses. All I did was waste money because I ended expense of the alien-flash look. If you must use flash, use
up getting the expensive lenses anyway. The lens is the a tiny flash like the Nikon SB-400 and on top of that use
thing my friends, so get a good one. Good lenses are a snap-on diffuser and even then rotate the flash upward
worth their weight in money. and not straight at the subject. This can work. Natural light
Tripod You need one for focus stacking and a good one is better than any flash device. So I avoid flash if at all
at that. I have a whole bunch of lousy, cheap tripods I cant possible and if not possible, I soften it by using a diffuser.
even sell that I bought trying to avoid buying one good
tripod. A light and strong carbon-fiber tripod is a treasure. When You Buy a Camera Be Sure it Has:
I use Gitzo carbon-fiber tripods, three-section (not four), Histograms Since most macro work requires manual
and the model I use is the GT2531 and it weighs 3 lbs. and focusing and many of the really good lenses dont synch
costs around $500. Wirth every penny. with your in-camera light metering, it is essential to
Ball Heads Between your tripod and your camera you purchase a camera with a built-in histogram. I consider
need some kind of connecting head. A good ball head with this essential. Read more about histograms here:
Arca-style quick-release clamp is superior to anything else http://www.bythom.com/histogram.htm
I have tried. Markins make an inexpensive and good one
(Q3) for about $260 on Ebay. The BH-40 by Really Right Mirror Lock-Up I have detailed this elsewhere, but I
Stuff is a more expensive ball head. would not buy a camera without the ability to lock-up the
mirror and thus remove the excess vibrations when the
Quick Release When you buy a ball head, make sure to mirror snaps up out of the way of the lens viewfinder. It
get one that has a built-in quick release clamp compatible means I have to click the shutter, the mirror goes up, wait
with the dovetail style plates (Arca). This is important for the vibrations to die out, and click it again, but it makes
because you need to be able to attach or detach the a real difference. Stacking focus means: everything has to
camera in a second. Otherwise you will be thumb-screwing be motionless.
the camera to the head and sooner than later the threads
will get ruined on the camera and you will be in for a big Remote Release Trigger Absolutely essential. You cant
expense. Also: I would avoid the Bogen/Manfrotto type touch the release button on the camera button without
quick release system. affecting the shot, however slightly. Make sure your
camera can take a remote release, either tethered (cord)
L-Bracket -- A quick-release L-Bracket for the camera or untethered (infrared). Dont leave home without it.
body for macro shooting is essential. Otherwise you are
stuck with just one view. I shoot most of my photos with Depth-of-Field Preview Not available on all cameras,
the camera rotated so that the long side of the photo is the but I would not buy one without it. Otherwise you have no
vertical but I need the ability to change to the horizontal idea of how much depth of field you have. The best Nikon
view at a moments notice. I use Kirk Enterprises for all my and Canon cameras have this.
plates. Lens Focus Throw - A lens with a focus throw greater
My Standard Kit I travel light. Aside from my camera than 360-degrees is preferred. With focus stacking you
and tripod, I usually take only one extra lens in a very small want to take many photos incrementally. If the focus
case hung over my shoulder, if that. Mostly I only take the throw (turn of the focus ring) is too short, it is difficult to
lens on the camera. I might stuff a collapsible diffuser in micro-inch forward. My favorite lens has a 720-degree
my pocket. Thats it. focus throw (two turns of the focus ring) and that is a real
pleasure to use. For action-sports it would be a liability
take too long. For macro it is perfection.
What Abour Outside?
APO Lenses - APO (apochromatic) lens are rare and
Direct Sun - Direct sun is very difficult to photograph in.
expensive, but they provide better color by not having
Once the sun is up high in the sky, head for the shade or
chromatic aberration and other anomalies. The best APO
get out the diffusers because your photos will just not work
lenses I know for macro use are the Voigtlander 125mm
out. Some part of your subject will catch or reflect the light
f/2.5 APO-Lanthar macro, the Leica 100mm f/2.8 Elmarit-R
and blow out that area leaving you with a photo that is both
APO macro, and the Coastal Optics 60 mm f/4 APO macro
too dark and too light one or the other. The hot spots will
lens. All of these are very expensive but very nice
be hard to manage.
High-Haze Sky Slightly overcast (hazy) skies are Accessories
probably the best for photographing you can get. Grab
UV Filters I use clear or UV filters to protect my lenses
147
although I know they must degrade the quality of the Neutral Density Filters These are used for a variety
lenses, however minutely. of reason like adding blur or being able to use a wider
aperture and still lesson diffraction. I dont use them and/or
Lens Hoods Most lenses come with a hood and you
know much about them.
need them to keep extraneous light out, so by all means
use them and if you have a lens without one, track the Gray Card Can be useful for setting white balance
appropriate lens hood down and buy it. They are there for a on site but I seldom bring one along. Instead I do this in
purpose. Adobe Lightroom. However, for very exact color work
in the studio a Gretag Macbeth ColorChecker Passport
Extra Batteries I am a little obsessive about having extra
system is what I use. In the field I seldom bring one along.
batteries for my camera or whatever. I try to carry an extra
I sometimes do.
one in the car but seldom on my person when I photograph.
I seldom shoot more than several hundred photos at one Focusing Rail Many macro photographers prefer to
shooting so the new Lithium batteries are enough for one stack photos working with a focusing rail rather than turn
outing. the focus ring on the lens. Either way can produce good
stacked photos. Using a focusing rail you mount your
Close-up Adaptors These are little lenses that screw on
camera on the rail, the rail on your tripod, and by turning
the front of macro lenses to give them even more close-up
little geared wheels incrementally move your camera
magnification. I have them but dont use them. They may
closer or farther from your subject, taking photos as you
give you added magnification but for the most part they
move along.
mess with your good glass. If you do get them get only
diopters which have two elements (not one). There are Bellows Lenses can be mounted on a bellows which
scads of inexpensive one-element diopters on the market in turn is mounted on a focusing rail for very close macro
and they are not worth anything. The make your good work, usually in the studio. Special bellow lenses are often
lenses look crappy. I have all the good diopters and never (and usually) used. They are similar to the old lenses used
use them. Almost never. Occasionally I fool myself into in enlargers back in the days of film. I am not going into
experimenting just to remind myself why I dont use them. this here, but some of you may want to learn about them.
Bellows are used mostly for ultra-close macro work. I
Polarizing Filter Useful for darkening skies, reflections
seldom use them.
on water or leaves, etc. I have them but seldom if ever use
them because I am doing close-up and macro, so not sky, Diffusers - A simple light diffuser can be very useful.
shiny tree leaves, open water, etc. Most on the market are too opaque for my taste, so I buy
a cheap one, tear out the center, and sew in something
Graduated Filter I use the graduated filter in Adobe
that lets more light through. I go to walmart and pick some
Lightroom for this instead of a filter you screw into the front
gauzy white fabric. All I want to do is cut back the strong
of your lens. For my purposes that is good enough.
sunlight a bit not block all of it.
Memory Cards I like to have lots of these and big ones.
Reflectors - In addition to diffusers, there are reflectors
I mostly use Lexar and SanDisk, although I have some
that reflect light onto your subject. Diffusers allow light
Delkin (because they were inexpensive). All work well. My
to pass through them and you hold them in between the
little Nikon D7000 has two 64GB SD cards in it at all times.
subject and the light source. Reflectors are held off at
Thats a lot of photos.
some angle to reflect light on the subject. I have tons of
Extension Tubes I have scads of them but seldom use them but I mostly use them for video studio work. They
them. They are used to give you greater magnification for can be helpful outdoors in taking macro shots where you
a given lens but they always suck light out of your shot are in the shade and trying to get more light on whatever
anytime you use them and I seldom feel it is worth it. In you are photographing.
other words, if you have a f/2.8 lens and add an extension
tube between the lens and the camera body, you will Other Stuff
get greater magnification but lose one or more f-stops.
Stacking Live Critters - Live critters do sometimes
Suddenly you have an f/2.8 lens that now is a f/3.5 lens or
hold still long enough for stacking. Spiders, bees in the
whatever f-stop. I seldom use them and am not happy with
early morning, you would be surprised. Ants? Not likely.
the results when I do.
Butterflies yes and definitely dragonflies. Try for it. You will
Teleconverters You can get a teleconverter lens that be surprised what even a two-shot stack will produce in
is placed between your lens and the camera body that terms of greater focus depth.
will give you 1x or even 2x magnification. If you put a
Dust Bunnies Particles of dust, sticky pollen, and
2x teleconverter on a 200mm lens, you instantly have a
whatnot somewhere worm their way inside your camera
400mm lens. However, you lose light, meaning suddenly
and cling to your sensor. The results are little persistent
your widest aperture for that lens jumps from f/2.8 to f/3.5
spots on each and every photo you take. This is
or higher. I have these, but every time I use them I swear I
particularly bad when focus stacking because as you focus
will never use them again. It is very, very difficult to improve
closer in that little dust-bunny spot becomes a long line
on a lens just as it is, which is why the lens was made just
on the finished stack photo or a bunch of lines which can
that way in the first place optimum. Put anything on the
be hard to remove. You must keep your sensor clean for
front or back of it and you are (IMO) just taking a good or
focus stacking.
great lens and turning it into an average (or worse) a poor
lens. I seldom ever, ever use one and dont suggest them. Sensor Cleaning This is the ugliest part of digital
Of course, they are not for macro work but for distance camera work but you have to do it. There are different
photography. If I was shooting birds I would probably have levels of cleaning the sensor. On my Nikon cameras I have
to use them. to lock the mirror up, take off the lens, and look inside.
Behind where the mirror was (before it was locked up)
148
is the sensor actually covered by a Lithium Niobate filter http://www.bythom.com/cleaning.htm
which is pretty tough and does not scratch easily. Still doing Shower Cap Buy one of those inexpensive plastic
anything with the sensor requires care and can be nerve shower caps with an elastic band in them for rain
wracking. protection for your camera. They take up almost no space
For beginners (and occasionally for any of us) cleaning and are totally useful if your camera and lenses get caught
the sensor is not only difficult but often fraught with worry in a rainstorm. Just put them over the camera and lens
about damaging the cameras sensor. It is no fun at all. The while you get wet. You do not want to get your camera and
single most-important tool for cleaning the sensor is some lenses soaked. Period.
way to know if you have it clean. The traditional way is to Camera Vests I have them but dont use them. If I
go outside, point the camera/lens at the sky and take a need that many pockets I am taking too much stuff with
photo. Then get the photo off the card, put it in Photoshop me. Walking around with a zillion pockets full of stuff is
(or somewhere), expand the photo, and minutely inspect it something I have done plenty of in third-world countries
for dust, what are called dust bunnies. This is a horrible where if you dont carry everything, it gets stolen. Pocket-
method and can take a very long time, going outside and loaded vests are no fun and I really like to travel ultra-light.
in, etc. It is easy to spend an hour doing this if you fail
to remove the dust you cant see in any way except as Photo Software - We could write a book about
describe above. photography software and many people have. All I am
going to do here is briefly tell you what I use. There are
The best money I EVER SPENT was to buy a BriteVue many simple programs for processing digital photos and
Quasar Sensor Loupe which costs a whopping $88. You Adobe Elements is one that will do quite a lot and is
can get them from VisibleDust. This is a 7x round magnifier inexpensive. However, most photographers use Adobe
that fits over your open lens hole (when the lens is off) Photoshop and/or Adobe Lightroom.
and is lit by six bright LED lights. By looking through it
you can easily see every speck of dust on the sensor. No I use Adobe Lightroom 3.0 and it is far easier to use than
more taking photos endlessly. If you value peace of mind Photoshop plus it also allows me to catalog and keep track
and dont want to be ritually humiliated by the previously- of all my photos. Compared to Lightroom Photoshop is
mentioned process, just buy one. I know it is expensive, but a lot more expensive and difficult to learn, so I suggest
you wont regret it. That said, here in general is what has you get Lightroom. However, and I am sure Adobe
to be done to clean a sensor. Please refer to your camera planned it this way, there are some tasks that you cant
manual for exact details. do in Lightroom and for which you need Photoshop or at
least Adobe Elements. If you are on a budget, just get
The first step is to place the LED sensor loupe on the Lightroom and Elements. That will do you. And: you will
camera and look inside. What is there? Is it a piece of hair, love Adobe Lightroom. It is intuitive and adjusting photos
tiny dust bunnies, or a gooey piece of pollen? With the LED in various ways is easy.
loupe you can see it all.
Focusing Rails - I do use focus rails in the studio but
The next step is to take a special hand blower and blow seldom outside because they are just one more thing to
air on the sensor to remove any dust particles that can be drag along and the focus ring works well enough for me. If
removed. Be sure to hold the camera with the lens-hole you do buy a rail, get a good one. Read about them. Most
pointing to the ground so the dust stirred up by the blower of them IMO suck. Novoflex Focusing Rail Mini is a good
will float down and out of the camera. Then look again at one and Minolta (if you can find an old one) made a solid
the sensor. and really well-made rail.
After blowing a few times, if there is still something Tripod Cleaning I have several tripods but I primarily
there then try a special sensor brush (I use the one by use one for dry work and one for wet work (ponds,
VisibleDust, called the Artic Butterfly). These battery- swamps, etc.). The wet tripod has to be taken apart and
operated brushes whirl around and become charged carefully cleaned and dried every so often, and at the end
so they pick up dust. Very carefully brush the sensor of the season.
WITHOUT going beyond the sensor and touching the sides,
which can have grease. If you pick up the grease and wipe Manual Photography I dont do close-up or macro on
it on the sensor you are in for real problems. Using the any other setting other than Manual. It takes only a short
loupe, see if this did the trick. time to adjust to doing everything manually and after that
adjustment I would never go back. I use Program Mode
And the last and most scary resort is to use a special fluid for parties and anywhere I need quick, auto-focus results.
and a special swab to actually clean the sensor manually. Otherwise, I use only manual. I set my own aperture
Again, I use swabs and fluid by Visible Dust made for my and shutter speed and get better results, the results I
Nikon cameras. This may have to be done repeatedly and it want. Turn the dial to manual and leave it there. Manual
is very tricky. Too little fluid and you dont get it all, too much Mode requires setting aperture and shutter speed (and
and it leaves a residue. No fun at all folks. ISO), taking a photo, looking at the histogram, and either
If all of the above do not work, you will have to send the keeping that photo or deleting it, adjusting the settings
camera to the manufacturer. The above is a very general further, and taking another photo. This is the way to go.
description of the process and is not definitive. You must ISO ISO dictates how your camera behaves in low light
refer to your camera manual for precise instructions. I how grainy things look. I keep my ISO as low as possible
cannot be responsible for errors you might make in attempts even though I have cameras that can handle very-low light
to clean your sensor. Use the procedures listed above levels like the Nikon D3s. If possible I have my ISO setting
at your own risk. Before doing anything please read this at 100 or 200 ISO. This means I have to sometimes use
excellent article on sensor cleaning by expert photographer long shutter speeds but if I am doing still life, so who
Thom Hogan:
149
cares. If I am shooting moving critters, I adjust the ISO collapsible diffuser. Thats it. I dont carry food, water, etc.
upward as needed. Sometimes a cell phone if I am going to some strange
place. I seldom get more than half a mile from the car. I
Be Ready To: have my water in the car.
Get Wet - Be ready to get wet and not worry about it.
Especially if you are out in the dew and fields early in the
morning, you are going to get really wet or you are not The Secret of Focus Stacking
doing your job. Sometimes I wear hip boots in the field to ... is practice, practice, practice.
stay dry. Most macro work requires being on your knees or
lower, so just accept it. I routinely get soaked out there in There is no silver bullet. It looks easy, but is harder
the dew. than you think. The only thing that worked for me was
a lot of practice. Get good equipment if you can, get
Get Dirty - Be ready to get dirty. It is nearly impossible to
out in the fields and enjoy. When you see something
assume all the positions a macro photographer has to take
that touches you, photograph it. If it does not touch
on and not get anything on you. You are going to get dirty.
So what? My family is used to seeing me walking around you, dont bother.
with dirt residue on my knees from kneeling here and there.
Get Exercise Macro photography is some of the best
exercise possible because you are kneeling down, getting
up, kneeling down, dozens or hundreds of times and it is
all great exercise for your midsection especially. Best way
to lose weight I know and still have fun. As I come across
great subjects I am willing to get down again and again and
hardly notice it, something an exercise program could not
get you to do.
Get Cold - Be ready to get cold. Even summer mornings
can be cold. Spring and fall mornings in the field can be
very chilly. If the sun is out I start out cold and gradually
warm up. The warmth of the rising sun is most welcome.
Things to Wear
Waterproof Boots - I need them and the Canadians make
the best kind. Up in Canada they are serious about zipper
ankle boots and they make them warm and waterproof.
Hip Boots I use hip boots for streams, ponds, and
swamps and also sometimes for wet grass in the early
morning meadows. I can kneel in them and still not get wet.
They are kind of cumbersome but sometimes it is just too
cold to get soaked.
Running Shoes In warm weather I use a pair of the
lightest and most-breathable running shoes I can find and
sometimes just let them get soaked. They dry quickly.
Pants I find the ExOfficio superlight pants can get soaking
wet and be almost dry twenty minutes later. I get wet a lot in
the summer.
Clothes - Wear old comfortable clothes, just slightly less
than what you need because you warm up. Include a floppy
hat to protect the ears if in full sun. And footwear to season,
but light, and waterproof. I usually wear a light synthetic
down vest that I can take off if necessary.
Hats In winter I use the old wool Navy Watch hats so that
I can get my eye to the viewfinder. In summer I either use a
baseball cap which I wear backward when photographing or
a big (ventilated) loose floppy hat that protects my ears from
too much sun.
Mosquito Netting - As the season grows longer and I still
want to get into the deeper danker woods, I carry mosquito
netting that goes under my hat and covers my face and
neck. Any sports store has them for almost nothing.
Travel Light - Pack the car with stuff, but outside the
car, travel very light: a camera, ball head, tripod, lens
and maybe one extra lens and on too-bright days a small
150
In a Few Words.... the Key. Macro and Close-up Lenses
My Key to Taking Good Photos a moment of rest - some time out. These moments of
The poet Gerard Manley Hopkins came up with a inscape are different on different days and different
concept that struck me as true. He even made up his for different people. They represent the clues or signs
own word to describe it, inscape. Inscape was to that catch our attention and show us the way into the
Hopkins an insight or path into the eternal or beautiful, beauty of the natural world, actually the beauty of
literally the way or sign of the beautiful in the world our own mind. Another way of saying this might be:
around us. Let me explain. what is beauty actually? What happens when we see
something beautiful?
I look forward to my trips out into the fields and woods.
They offer me a chance to get my head together, to Beauty is not simply somewhere out there in nature
relax from the day-to-day grind of running a business, waiting to be found, but always here within us, locked
and generally to relax a bit. This is not to say that just within us, we who are seeing this nature. Only we can
going outside and walking in nature means that I am see the beautiful. Beauty breaks down the rush of the
instantly relaxed. That usually takes time. everyday world and opens our heart a wee bit, making
us vulnerable once again, more open to experience
It is the same with taking photos. In the first ten and input.
minutes of a photo shoot I often dont see all that
much to photograph. This too takes time, time for me Through the natural beauty outside we go inside and
to slow down, open up, and see, and let the natural experience the inner beauty of things, which is none
beauty all around me in. It could be that I am still filled other than our own inner beauty. That is what beauty
with all the workaday-world thoughts, the things I have is for, to be touched on, seen, so that we find once
to do, problems, and what-have-you. It takes time for again the beauty within our own hearts that we may
my mind to relax and let go of its constant chatter. have lost through the distractions of our daily life. We
This day-to-day endless worry and thinking affects my forgot. We look outside in nature to see in here, to see
photography. And here is where the word inscape into our own heart once again.
comes in. We can be sensitive to beauty in our photography. I
As I get out there and wander through the fields or would hate to tell you how many photographs I have
wherever, I gradually start to slow down and begin of this or that butterfly or critter that are perfectly good
to see things that are beautiful, scenes that I might photographs, but are empty of magic or meaning.
actually want to photograph. Slowly my view of the They are well lit, well composed, and have everything
natural world around me starts to open up again, and I that makes a good photograph except that magic
begin to experience things differently. I begin to see. that keys or excites me. Instead, they are pictures of
It takes time and usually does not happen all at once. a butterfly, but they have not captured any essence
of anything. They might as well be in a field guide
This little pattern of leaves over here or the way the snapshots in time with no meaning.
light comes through the forest canopy grabs me just
a little bit and the chatter of my mind pauses and The reason for this (so I tell myself) is because they
begins to slow down. As I walk along, some little thing just happened to be there, photographic opportunities.
or scene appears beautiful to me; I am touched by it, I saw them and I took a photograph, but at the time
however lightly at first. I gradually get distracted from they did not instill or strike any particular beauty in me.
my daily distractions and begin to center. This, to me, is gotcha photography, taking a photo
because I can, not because I saw beauty in it or was
These little moments are inscapes, ways out of my moved to do so. There was no inscape moment, no
mundane world and into the beauty of nature or, moment of vision snapshots only.
more accurately, back into the state of my own mind
or being. As I take my time, I am able to see the I find that it really worth paying attention to what
beauty in things once again, and what I am seeing strikes me as beautiful or meaningful and photograph
suddenly seems worth photographing. Like most of that, rather than just photographing the Grand Canyon
us, I photograph what catches my interest, what I find because it is there or I am there. A lasting photograph,
beautiful or worthy in the world around me. in my opinion, requires more of me than that, by
definition. It has to mean something to me and for that
These inscapes are signals that catch my attention, to happen I need to actually be moved or inspired.
and they flag me down on my busy way forward to Photographs that have special meaning for me usually
nowhere-in-particular. These moments and signs have some form of inscape into a special moment that
are how I stop going nowhere and manage to almost inspires me to capture the scene in a photo.
miraculously arrive somewhere once again, perhaps
only at my own peace of mind. This is one of the We can wander for miles looking for something to
functions of the beautiful, to catch us in the turmoil of photograph, chasing down this or that butterfly or
life, flag us down, and induce us to pull over and take animal searching. Or, we can slow down and
let nature herself show us the signs, the inscapes
151
In a Few Words.... the Key. Macro and Close-up Lenses
through which we can relax and begin to see
photographically once again. We can listen to our
own intuition. This process of inscape, of insight into
the sublime in nature (the sublime within us) I find
to be the key to good photographs and to creating
photographs that are real keepers, at least in my
mind. If we dont touch our own inner self in our work,
we touch no one at all, but when we are touched by
a moment, I find that others also feel this. Touch one,
touch all.
Michael Erlewine
Michael@Erlewine.net
152
About the Author Macro and Close-up Lenses
Michael Erlewine
Archivist of Popular Culture Michael
Erlewine is a well-known entrepreneur, the
founder and creator of many large web sites
including the All-Music Guide (allmusic.
com), All-Movie Guide (allmovie. com), All-
Game Guide (allgame.com), Matrix Software
(AstrologySoftware.com), AstrologyLand.com,
MacroStop, ACTastrology.com, StarTypes.com,
ClassicPosters.com, MichaelErlewine.com,
and others.
Erlewine was very active in the folk scene in
the late 1950s and 1960s, especially in the
Ann Arbor area, which included traveling with
Bob Dylan (hitchhiking) in 1961. Later, as
leader of the influential Prime Movers Blues
Band (Iggy Pop was the drummer), Erlewine
played a wide variety of venues, including the
Fillmore Auditorium in San Francisco (during
the Summer of Love in 1967) where his band
opened for Cream during their first U.S. tour.
Erlewine was instrumental in the landmark Ann
Arbor Blues Festivals of 1969 and 1970 as
well as the Ann Arbor Blues & Jazz Festivals
in 1972 and 1973, where he did audio and
video interviews of almost all performers. This
led to his becoming interested in archiving
popular culture and founding the All-Music
Guide (AMG), which today is the largest must Questions and comments can be addressed
review site on the planet. He did the same for to Michael@Erlewine.net and there are other
film, video games, and rock and roll posters. free books and PDF downloads at: http://www.
Next to Microsoft, Matrix Astrological Software MacroStop.com.
(founded by Erlewine) is the oldest software
company on the Internet.
For kids there is Nature in the Backyard at
Erlewine still owns and runs the company
the above web site.
today, which is located in Big Rapids,
Michigan. Erlewine is also very active in You are free to distribute this to anyone who
Tibetan Buddhism and Macro Photography. might enjoy it. No fee may be charged.
Photo Equipment In my work, I generally use
the Nikon D3x, D3s, and D7000 cameras, with Other books by Michael Erlewine here:
the Voigtlander 125mm 2.5 APO-Lanthar, the
http://astrologysoftware.com/books/index.
Coastal Optics 60mm f/4 APO lenses, and a
asp?orig=
Gitzo T2531 carbon-fiber tripod, with a Markins
Q2 ball head. As for camera settings, I tend to
shoot around f/11 at whatever shutter speed
will bring down the ISO to 200 or so. -- Michael
Erlewine
153

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Macro and Close-up Lenses

Close-Up and Macro

Text and Photos by Michael Erlewine

Heart Center Publications

All photos taken by Michael Erlewine,

Lens: Voigtlander 125mm f/2.5 Macro APO-Lanthar

Cons: None. Perhaps a little heavy.

Voigtlander 125mm f/2.5 Macro APO-Lanthar 7

Voigtlander 125mm f/2.5 Macro APO-Lanthar (crop from full size) 8

Voigtlander 125mm f/2.5 Macro APO-Lanthar (maximum close-up) 9

Voigtlander 125mm f/2.5 Macro APO-Lanthar (crop from full size) 10

Voigtlander 125mm f/2.5 Macro APO-Lanthar (crop from full size) 11

Lens: Zeiss 50mm f/2 ZF.2 Makro-Planar

Pros: Very sharp lens, fast lens, 9 blades, good focus

Cons: No 1:1, heavy-ish.

Zeiss 50mm f/2 ZF.2 Makro-Planar 12

Zeiss 50mm f/2 ZF.2 Makro-Planar (crop from full size) 13

Zeiss 50mm f/2 ZF.2 Makro-Planar (close-focus) 14

Zeiss 50mm f/2 ZF.2 Makro-Planar (crop from full size) 15

Pros: Fast lens, 9 blades, very sharp, good close focus.

Cons: Short focus throw, does not go to 1:1, tilt/shift features

Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift 16

Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift (crop from full frame) 17

Micro-Nikkon 45mm f/2.8 PC-E Tilt/Shift (maximum close-up) 18

Pros: Fast lens, 9 blades, very sharp, good close focus.

Nikon Nikkor 24mm PC-E f/3.5 19

Nikon Nikkor 24mm PC-E f/3.5 (crop from full frame) 20

Nikon Nikkor 24mm PC-E f/3.5 maximum close-up 21

Lens: Zeiss 100mm f/2 ZF.2 Makro-Planar

Pros: Very sharp lens, Fast lens, good focus throw, 9

Cons: No 1:1, heavy-ish, near focus could be closer.

Zeiss 100mm f/2 ZF.2 Makro-Planar 22

Zeiss 100mm f/2 ZF.2 Makro-Planar (crop from full frame) 23

Zeiss 100mm f/2 ZF.2 Makro-Planar (maximum close-up) 24

Zeiss 100mm f/2 ZF.2 Makro-Planar 25

Lens: Micro-Nikkor 60mm f/2.8 G

Pros: Fast lens, 9 blades, close focus, VERY sharp, goes to

Cons: Short focus throw.

Micro-Nikkor 60mm f/2.8 G 26

Micro-Nikkor 60mm f/2.8 G (crop from full frame) 27

Micro-Nikkor 60mm f/2.8 G (maximum close-up) 28

Micro-Nikkor 60mm f/2.8 G 29

Lens: Nikon Nikkor 35mm f/1.4 G

Pros: Very fast lens, VERY sharp, 9 blades, short focus.

Cons: Short focus throw, no 1:1, heavy-ish.

Nikon Nikkor 35mm f/1.4 G 30

Nikon Nikkor 35mm f/1.4 G (crop from full frame) 31

Nikon Nikkor 35mm f/1.4 G (Maximum close-up) 32

Nikon Nikkor 35mm f/1.4 G 33

Coastal Optics 60mm f/4.0 APO 34

Coastal Optics 60mm f/4.0 APO (crop from full frame) 35

Coastal Optics 60mm f/4.0 APO (crop from full frame) 36

Coastal Optics 60mm f/4.0 APO (maximum close-up) 37

Coastal Optics 60mm f/4.0 APO 38

Lens: Voigtlander 58mm f/1.4 Nokton

Pros: Very fast lens, very sharp lens, 9 blades.

Cons: Not close focus, no 1:1, 16mm smallest aperture.

Voigtlander 58mm f/1.4 Nokton 39

Voigtlander 58mm f/1.4 Nokton (crop from full frame) 40

Voigtlander 58mm f/1.4 Nokton (maximum close-up) 41

Lens: Nikon Nikkor 24mm-70mm AF-S f/2.8 G ED

Pros: Fast lens, sharp lens, close focus distance, 9 blades.

Cons: No 1:1, very short focus throw, heavy.